SCENES OF NATURE WROUGHT IN STEEL
In a Scottish garden, a striking metal fence appears alive with animals and plants, shaped by artist Elspeth Bennie
Fences brought to life
Towards the bottom of a steep hillside, overlooking the still waters of Loch Voil, a nimble deer leaps through barley fields on a fresh, early spring morning. Another stares at passers-by, its haunches flexed, ready to bolt in an instant. Nearby, an unseasonal butterfly perches on a flower, and a spider waits for prey on a delicate cobweb, glistening in the soft sunlight. Further along, cats are balanced on a gate, washing, stretching and about to pounce. Surrounded by lush leaves, waving grasses and flowers, these animals are captured forever at play, inhabiting a vivid steel creation crafted by Scottish artist Elspeth Bennie. Together they form an imposing naturalistic metal fence in rural Balquidder, Perthshire. More than just a barrier, it is a highly complex work of art. From public pieces to private commissions, Elspeth’s skill lies in making practical, everyday structures, including signs, gates and railings, into eye-catching works of art. Flora and fauna feature prominently. The fluidity of animals in motion, grasses blowing in the wind and leaves tumbling from the trees appeal to her metal of choice, steel. “Organic material lends itself to what steel can do,” she explains, “Once heated, it’s very plastic and soft. Steel is so malleable, making it ideal for capturing a moment or a motion.” As her pieces are permanent fixtures, she also makes sure to visit the space in which they will feature.
Time is taken to soak in the atmosphere, assess the vegetation and the ground on which her work will be assembled. Practical requirements, as well as aesthetics, need to be considered in equal part. Elspeth’s largest commission snaked 131ft (40m) long, rose 20ft (6m) high and weighed approximately 14 tons. An average fence panel is approximately 5ft by 4ft (1.5 x 1.2m), so these are formidable pieces to work with. Once Elspeth has accurately measured up, she can return to her workshop in Balfron, Stirlingshire, and start creating.
Setting up a workshop
She learned her craft studying sculpture at Glasgow School of Art, followed by post graduate study at St Martin’s in London, where she undertook a course in welding. This inspired her love of metalwork. “It was decreed by St Martin’s that students had to undergo a welding course to ensure they had basic skills, but I discovered that I enjoyed it and stayed on an extra year to complete a City and Guilds,” she explains. “I began learning more about different techniques. “When I returned home to Balfron after graduation, I set up my first basic workshop. My father gifted me some bits of equipment, and I made a coal forge. I joined the British Artist Blacksmiths Association, attending events, meeting people, learning from other craftsmen and developing my own style. It’s been a journey of discovery since then, and I’m still learning.” Her workshop is a large, grimy, imposing space filled with industrial machinery. A fly press, two power hammers, a drill and a linishing machine are pressed against the walls. The smell of oil, dust and metal pervade the air. Hammers, tongs, anvils and burning furnaces add their own heat and noise. It is a space that evokes images of a bygone industry. Its location is only 45 minutes from the Clyde and the industrial powerhouse that was Glasgow, and an hour from the steel heartland of Ravenscraig. But out of the glowing orange embers of Elspeth’s forge are born the most delicate, intricate and personal pieces of metalwork.
Long-term process
Each piece she creates has its own backstory and is a labour of love for all involved. The Balquidder fence alone took two to three months’ work from start to completion. The creative process always begins with the client, whether a public body or an individual. The key priorities are to come up with a design that fits the aspirations and practical needs of the client, while reflecting the surrounding environment. The design must also be acheiveable in steel.
She has just completed a handrail in Loch Katrine, and it was requested that it should be left to rust naturally. “Usually, I galvanise pieces and finish them with an acid etch. This is a lovely permanent finish,” she explains. “It roughens the surface of the steel, and when it’s wet, it darkens, so the metal changes with the very unpredictable Scottish weather. But the Loch Katrine handrail is different. It will rust, alter and tell its own story over time. This environmental approach went right back to the design stage of the piece.” The Balquidder fence was a private commission for a cat-loving family, which ultimately became a stunning memorial to their pets. She is currently creating a gate with a proud leaping stag motif for a relative of the same family. Firstly, a pattern is drawn out to full scale on brown paper. It lies flat on the ground, in the centre of her studio, as a template. She starts by making up the basic structure of the piece, including the posts and panels and the bottom and top rails. “I buy my steel from a stockholder in Stirling,” says Elspeth. “I purchase it in sections: a hollow tube, a solid bar, pieces that are flat, round or square. At each stage, I choose a section closest to what I require, cutting it off at the saw, heating it in the gas forge, then hand forging on the anvil, or using the power hammer for more challenging sections.”
Design to completion
For the delicate pieces, such as flowers, she works from sheet steel, approximately 3mm thick. She chalks her design onto its surface before using a plasma cutter. This is a freehand process and is only as accurate as the artist holding the machinery. From here, the steel goes to be galvanised at Highland Colour Coaters in Cumbernauld, where it is dipped in a zinc bath for rustproofing. When it returns, any drips are ground off, either by hand or with a hand grinder. This is a delicate process, as the zinc coating should not be removed entirely. After the drips are gone, the acid etch coating can be painted on and final flourishes added, such as shimmering glasswork. “I’ve started working with Jane Marriot, a mosaic artist. It’s been such an inspiration,” she says. “Paintwork, while colourful, has long-term maintenance issues, but glass mosaic decoration works beautifully. I love its iridescence; the way glass changes
“The wild deer wandering here and there, Keeps the human soul from care.” William Blake, ‘Auguries Of Innocence’
with the light and reflects it. For art in the great outdoors, this is priceless. I can add vivid colour that has longevity and can endure the Scottish elements.” Once each individual component is completed, the pieces are welded together to form finished panels. These panels are transported on-site to be assembled into the final work of art. Each section of the Balquidder fence weighed approximately 44-60lbs (20-30kg), so at this point, due to the physical nature of the job, Elspeth enlists the help of her sons or any client who wishes to get hands-on. The final reveal of the finished product is the highlight of the job. “I get a lot of satisfaction seeing the finished piece of art in place. Going from the initial design phase to a piece of work in pride of place is an absolute pleasure,” she says. “The best moment is always seeing the customer’s reaction. They’ve invested in something unique; a piece that should last a lifetime, and it means something special to that individual or to that community. It’s a wonderful feeling.”